Quotes About Memory

They can print statistics and count the populations in hundreds of thousands, but to each man a city consists of no more than a few streets, a few houses, a few people. Remove those few and a city exists no longer except as a pain in the memory, like a pain of an amputated leg no longer there.

They had been corrupted by money, and he had been corrupted by sentiment. Sentiment was the more dangerous, because you couldn't name its price. A man open to bribes was to be relied upon below a certain figure, but sentiment might uncoil in the heart at a name, a photograph, even a smell remembered.

When I tried to remember her voice saying, 'Don't worry,' I found I had no memory for sounds. I couldn't imitate her voice. I couldn't even caricature it: when I tried to remember it, it was anonymous - just any woman's voice. The process of forgetting her had set in. We should keep gramophone records as we keep photographs.

She had an immense store of trivial memories and when she wasn't living in the future she was living in the past. As for the present - she got through that as quickly as she could, running away from things, running towards things, so that her voice was always a little breathless, her heart pounding at an escape or an expectation.

When I replied that I loved her too in that way, I was the liar, not she, for I never lose the consciousness of time: to me the present is never here: it is always last year or next week.

I couldn't help wondering, is my husband so unattractive that no woman has ever wanted him? Except me, of course. I must have wanted him, in a way, once, but I've forgotten why, and I was too young to know what I was choosing.

He couldn't tell that this was one of those occasions a man never forgets: a small cicatrice had been made on the memory, a wound that would ache whenever certain things combined - the taste of gin at mid-day, the smell of flowers under a balcony, the clang of corrugated iron, an ugly bird flopping from perch to perch.

One forgets so quickly one's own youth…

Yesterday I went home with him and we did the usual things. I haven't the nerve to put them down, but I'd like to, because now when I'm writing it's already tomorrow and I'm afraid of getting to the end of yesterday. As long as I go on writing, yesterday is today and we are still together

One can't reason away regret-it's a bit like falling in love, falling into regret.

They think my mother's ashes are marijuana.

All good novelists have bad memories.

I shut my eyes and she was again the same as she used to be: she was the hiss of steam, the clink of a cup, she was a certain hour of the night and the promise of rest.

For a moment I had felt elation as on the instant of waking before one remembers.

It was a city to visit, not a city to live in, but it was the city where Wormold had first fallen in love and he was held to it as though to the scene of a disaster. Time gives poetry to a battlefield.

Childhood is the writer's bank balance.

It is the earliest dream that I can remember, earlier than the witch at the corner of the nursery passage, this dream of something outside that has got to come in. The witch, like the masked dancers, has form, but this is simply power, a force exerted on a door, an influence that drifted after me upstairs and pressed against windows.

A story has no beginning or end: arbitrarily one chooses that moment from which to look back or from which to look ahead. I say 'one chooses' with the inaccurate pride of a professional writer who — when he has been seriously noted at all — has been praised for his technical ability, but do I in fact of my own will choose that black wet January night on the Common, in 1946, the sight of Henry Miles slanting across the wide river of rain, or did these images choose me?

She thought for the first time, with happiness: perhaps I have a life in people's minds when I am not there to be seen or talked to.

He had always despised people who thought about the past. To live was to leave behind; to be as free as a shipwrecked man who has lost everything.

It's not really much good tearing out a page because you can see the place where it's been torn. [...] You can pull a stamp out,' she said with terrible youthful clarity, 'and you don't know that it's ever been there.

What did the truth matter? All characters once dead, if they continue to exist in memory at all, tend to become fictions.

Perhaps a novelist has a greater ability to forget than other men--he has to forget or become sterile. What he forgets is the compost of the imagination.

and then beginning to go back to what you can't even remember.